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S E C T I O N O N E S E C T I O N S E V E N

W EL C OME T O HERF F JONES C A ME R A S A ND P HO T OS

A guide for new advisers. Create a photo worthy of the spotlight.

S E C T I O N T W O S E C T I O N E I G H T

T E A M A ND L E A DERS L AY OU T A ND DESIGN
Cultivate the community that works. Make it all fit together.

S E C T I O N T H R E E S E C T I O N N I N E

IN T RO T O JOURN A L ISM TOOLS OF THE TRADE

An overview of the basics. Getting started with eDesign and InDesign.

S E C T I O N F O U R S E C T I O N 1 0

T HEME A ND V OICE P EOP L E A ND INDE X

They unite the verbal and visual. Complete the history book.
S E C T I O N S E V E N

S E C T I O N F I V E S E C T I O N 1 1

C O V ERING Y OUR S CHOOL SEL L ING Y OUR BOOK

CAMERAS
They all have stories to tell. The book only matters if people buy it.

S E C T I O N S I X S E C T I O N 1 2

REP OR T ING A ND W RI T ING W ORDS T O K NO W

Use their words, not yours. Glossary and curriculum alignment.

AND
PHOTOS
HOW TO YEARBOOK

P R I N T E D I N E DWA R D SV I L L E , KS • U S A © 2 0 1 9
010-953
fi e
TAKEAWAYS
YO U M US T L E A RN TO B E SU C CE S S F U L
MITCH ZIEGLER, CJE

“A lot of the
photography
comes out of
discussion. What
we have is a very
Read your
camera’s owner’s manual
carefully. It was written
specifically for your device.
WHAT’S I N S I D E
G L O S S A R Y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0 4

K N O W T H E B A S I C S. . . . . . . . . . . . . . . . . . . . 0 5
Essentials

C O M P O S IN G G O O D P H O T O S.. . . . . . . 0 6
Essentials Learn 10 basic
principles of photo composition
to make appealing images.
CAMERAS AND PHOTOS

Expert Understand how big

an image can be reproduced.

K N O W Y O U R C A M E R A................ 2 8
Expert Understand digital
camera basics.

U N D E R S TA N D P H O T O G R A P H Y . . ... 3 0
Next level Learn the
functions of the exposure
triangle.

Expert

1
strong culture Move past auto on
of peer teaching Essentials Understand how your camera’s mode dial.
Photo composition matters and just passing to get the best photo.
You don’t need to have a fancy camera the knowledge Checklist Composition guide
to take good photos if you know what to H A N D L IN G A C A M E R A................ 3 2
down. Some years
look for. These tips will guide you to new Essentials Understand how
I have to step in A P P LY IN G C O M P O S I T I O N . . . . . . . . . . . . 16
and interesting shots. p. 06 to handle a digital SLR camera.
more than others. Skill-builder Compile Skill-builder Analyzing
We have regular composition priorities

2
photo critiques.
We learned that
Lighting the way conversation and
perfect
Lighting can make or break your images. dialogue where
Light is life for your photos. p. 22 people just start
talking about what
Skill-builder Candids class
Skill-builder Practice makes
U N D E R S TA N D IN G E T H I C S . . ......... 3 6
Essentials Learn how visual
Skill-builder Scavenger hunt
journalists are held accountable.
Skill-builder My school
Skill-builder In your element Next level Be fully informed

3
seems to work Skill-builder Selfie squad about public events.
and what doesn’t
Choosing photo settings work helps. From
Understand how to use the best settings U N D E R S TA N D IN G L I G H T .. . . . . . . . . . . . 2 2 T R O U B L E S H O O T IN G................... 3 8
that, it inspired
for your photo. p. 32 Next level Understand how Essentials Understand
and increased my
and when to use frequent problems with a
knowledge and
different types of lighting. camera.

4
I learned it very
intuitively and my Checklist Photo op guide
Take different types of pictures students did too. U N D E R S TA N D C O V E R A G E. . . . . . . . . . . . 24
Next level Understand how to
Your pictures should not all look the It’s just talking Essentials It’s your job to
pick the best part of your photo.
same. Make sure to have all types about planning capture the entire visual story.
of shots to tell the authentic story of and thinking
the year. p. 24 S E L E C T IN G P H O T O S.. ................. 4 0
about what are ID E N T IF Y IN G Q U A L I T Y . . . . . . . . . . . . . . . 2 6
Essentials Learn how to
the possibilities of Skill-builder Photo
choose photos for a spread.

5
any given shoot.” identification
Checklist Selection guide
Skill-builder Challenge
Be ethical accepted
YEARBOOK ADVISER
Do not misrepresent reality. Your goal is REDONDO UNION Skill-builder Inspiration
to visually report significant events and HIGH SCHOOL station
viewpoints authentically. p. 36 REDONDO BEACH, CA

C A M E R A S A N D P H O T O S 01
OVERVIEW
In the clouds
This photographer captured a striking image
using the rule of thirds, leading lines as well as
informal balance. Even without picturing people,
this photo is a great scene-setter.

E VA N S E N D E ROW I C Z • BO IS E H I G H S C H O O L • BO IS E , I D

T HERE A RE T W O P EOP L E

IN E V ER Y P IC T URE :

T HE P HO T OGR A P HE R

A ND T HE V IE W E R .

02
03
 8 9 1
CAMERAS AND PHOTOS Megapixel
About one million pixels. This
describes resolution. The more
pixels in an image, the higher the
resolution.

WORDS
Memory card
Digital image storage device.

Photo composition
The arrangement of objects
within a frame. Good composition

TO KNOW creates reader interest.

Photo op
Short for photo opportunity:
A planned event, like a pep rally
or other school function.

Portraits 7 6 5 4 3 2
A straightforward head-and-
shoulders photo, taken by KNOW THE BASICS
a professional.
Essentials Read your camera’s
Resolution owner’s manual carefully. It was
Aperture Dominant photo
The opening in a photographic lens This is the largest and highest quality Measured in dots per inch (dpi), IDEAL written specifically for your device.
resolution determines the quality
that admits light to reach the camera photo on the spread.
of image detail. Higher resolution
EXPOSURE Shutter release
sensor. The aperture number —
measured in f-stops — determines Enterprise photography means more pixels per inch Having 1 Press to take photo.
how much light gets through. To walk around looking for interesting (ppi) which means more detail.
Low-resolution images will not the correct Power button
candid subjects or events to photograph.
Candid photo BAD PHOTOS reproduce well in a yearbook.
amount of light
2 Turns camera on/off.
An action photo that captures the F-stop Minimum print quality is 300 dpi
moment or tells the story. With the
HAPPEN Stands for focal stop. The size of the at the size printed. creates the Mode dial
exception of headshots and group aperture is measured in f-stops. 3 Allows user to select manual and
Avoid them by best exposure.
pictures, all yearbook photos should Selective focus automatic settings.
be candid. understanding Framing An object in sharp focus will be
Adjust aperture,
To surround or frame the center of isolated from blurred, out-of-focus Control panel
how cameras use surroundings. which is used for 4 Displays available options.
Center of interest interest with another object to attract
The dominant element in a photo. light. Internalize and focus attention.
Shutter speed depth of field, Built-in flash
The part of the image your eye goes
to first. the rules of ISO How long the camera’s shutter 5 Pops up when flash is needed.
and shutter
Number indicating the camera’s stays open.
composition. speed, which is Hot shoe
Cropping sensitivity to light. The higher the
Eliminating excess content or dead number, the less light required, but Soft focus 6 External flash mount.
Realize exposure used to freeze
space. Proper cropping provides the grainier it looks. An image taken purposefully
focus to an image. makes the without sharp focus. Viewfinder
or blur motion,
Leading lines 7 Eyepiece for composing photos.
difference to achieve the
Depth of field Natural lines the eye follows in
Change in focus between the nearest a photo, particularly elements Lens release button
between a desired image.
and farthest objects in an image. running from the foreground to 8 Used to detach and mount lenses.
dominant photo background.
Focus ring
and another 9 Used to bring subject into focus.

deleted picture.

C A M E R A S A N D P H O T O S 04
GLOSSARY 05
 D I A N A K U T S E N KO • H E R I TA G E H I G H S C H O O L • VA N C O U V E R , WA
M AT T H E W M A R D E S I C H • R E D O N D O U N I O N H I G H S C H O O L • R E D O N D O B E A C H , C A

D I A N A K U T S E N KO • H E R I TA G E H I G H S C H O O L • VA N C O U V E R , WA
K AT H E R I N E L A K E • N O R T H C R O S S S C H O O L • R OA N O K E , VA
COMPOSING GOOD CAPTURE 1. CENTER OF INTEREST
Focus should be obvious. In sports
2. VARYING ANGLE
Never stand and shoot. Find a low or
BEST Ex. Usually blocking a person’s face
is not advised, but this shot into the
CANDIDS SHOT

PHOTOS
photos, the ball should be in the high angle to isolate your center of megaphone captures the moment.
frame when possible, especially interest or a different perspective. This unique angle shows the reader
Yearbook when it’s important to the action. Change your something outside the norm.
photography Generally, straight-on pictures are
point of view
Ex. The microphone stand guides the less pleasing than higher and lower Ex. Snapping from below the starting
is candid — all eye right to the subject’s face, so we views. They contain fewer diagonal — literally. block gives the reader an unusual
see the emotion of the performer. lines to make pictures more dynamic. angle of the swimmer’s takeoff, while
photos capture Climb high, providing a clear center of interest.
Essentials Learn 10 basic Shooting from below makes subjects
a moment and get low or
principles of photo composition to appear larger in the foreground. Ex. Getting low fills the frame with
make the most appealing images. tell a story. Shooting from above makes subjects out of your children’s faces, and varies the scale
seem smaller. of elements.
Composition comfort zone.

creates reader

interest.

C A M E R A S A N D P H O T O S 06
COMPOSITION 07
 WH AT ’S T HE S T ORY
Practice looking for the story in each
4. LEADING LINES
photo. Captions should lend support, The eye follows pattern to the
center of interest, especially
but the best images tell their own tales. from the foreground to the
background.

LOS ALAMOS MIDDLE SCHOOL • LOS ALAMOS, NM

Ex. The tug-of-war rope leads
the eye to the hands and face
of the first boy, then on down
the line.

Ex. The side of the boat leads

the eye right to the subject

C A R LY PA N C E R • R O G E R W I L L I A M S U N I V E R S I T Y • B R I S T O L , R I
carrying it. There’s also a
G E O R G E WA LT O N A C A D E M Y • M O N R O E , G A

reflection of the sky at dusk —

with a nice leading line — on
the side of the boat.

JACKSON PERKINS • COTTAGE GROVE HIGH SCHOOL • COTTAGE GROVE , OR

3. DEPTH OF FIELD
Create depth for perspective.
Look for overlapping elements. 5. SIMPLICITY
Isolate your subject. Crop

G A B E G L E N N • C O T TA G E G R O V E H I G H S C H O O L • C O T TA G E G R O V E , O R
Ex. The Cub Scout in focus has other before you snap. Change
pack members on either side, but the perspective to reduce
depth of field puts them out of focus. background clutter.

Ex. This image captures the moment Don’t be afraid to fill the
the water hits the student’s face in frame. But don’t forget to
sharp focus while the background is shoot a variety of overall and
soft — creating depth. close-up images.

Ex. Another example featuring depth of Ex. This image of a welder

field, this environmental portrait uses shows off a closely cropped
the layers of greenery, but still keeps shot as well as leading lines
the subject in focus. that seem to fly from the
focal point.
HEIDI ZHANG • THE HARKER SCHOOL • SAN JOSE, CA

C A M E R A S A N D P H O T O S 08
COMPOSITION 09
 D I A N A K U T S E N KO • H E R I TA G E H I G H S C H O O L • VA N C O U V E R , WA

M I A M I L A K E S E D U C AT I O N A L C E N T E R • M I A M I L A K E S , F L
K AT H Y D U A N • T H E H A R K E R S C H O O L • S A N J O S E , C A
H E R I TA G E H I G H S C H O O L • VA N C O U V E R , WA

EYES ON 7. PEAK OF EMOTION

The peak of emotion often tells
THE PRIZE the story. Strive to capture action,
motion and reaction.
The eyes can

reveal some Ex. This photographer zeroed in on an

6. PATTERN AND REPETITION PAT T ERN Ex. The repetition of basketball players excited and expressive fan.

PLEASANT GROVE HIGH SCHOOL • TEXARKANA, TX

Patterns draw the eye in, and the in matching uniforms is broken by the incredibly strong
break in repetition provides a pop. PICTURES one student looking back. Ex. Any time someone is named a
emotions — open winner is a great moment to capture.
Stairs, lanes, rows can all create
Repeating Also, watch for emotion on the faces
repeated drama. Ex. The fencing in this environmental or closed.
something portrait features multiple patterns of of those who came up short.
A disruptive subject draws readers in repetition. The subject commands
and makes them take a closer look. once or twice is the eye by breaking the lines.

interesting, but
Ex. The repeated row of arms with
repeating many black sleeves pushes the reader
toward the smiling face in the
times takes on a bottom-right third of the frame.

life of its own.

C A M E R A S A N D P H O T O S 10
COMPOSITION 11
 PAIR UP

MARTIN KRUK • REDONDO UNION HIGH SCHOOL • REDONDO BEACH, CA

The rule of thirds

helps to create informal

balance. Capture the best

photos by using

DARREN GU • THE HARKER SCHOOL • SAN JOSE, CA

multiple techniques.

M AT T H E W YO N E M U R A • R E D O N D O U N I O N H I G H S C H O O L • R E D O N D O B E A C H , C A
D I A N A K U T S E N KO • H E R I TA G E H I G H S C H O O L • VA N C O U V E R , WA

8. BALANCE
Objects have varied senses of weight.
Highlight the differences.
All elements work in harmony.
When photo elements compete for
attention, the image is unbalanced
and the viewer does not know where
to look.
Placing the subject off center will
create a pleasing informal balance.
P H I L L I P M U L L I S • M O U N T TA B O R M I D D L E S C H O O L • P O R T L A N D , O R
SYMMETRY Ex. The student centered with his arms 9. RULE OF THIRDS
POWER Ex. The student working on a project is
spread wide creates formal balance. Imagine a tic-tac-toe board in your in the left third of the frame.
Also known This image also features great use of viewfinder and capture the subject POINTS
repetition under the pier and a bit of in the intersections. This is where a Ex. The two students hit three power
as formal informal balance with the placement viewer’s eye naturally goes. The four points because the photographer has
balance, it of the sun. them sitting in the lower-right.
intersections
Allow your subject to face or move
means both Ex. This basketball image not only into the center of the image. This where Ex. Both lacrosse players fill a third of
features informal balance, it will prevent a static look. the frame perfectly. There are also
halves of the showcases an abnormal angle as well the eye is leading lines and repetition going on
photo mirror as the rule of thirds. in this image.
automatically
each other and drawn are

draw the eye called the

equally. “power

points.”

C A M E R A S A N D P H O T O S 12
COMPOSITION 13
 Checklist
COMPOSITION
CHECKLIST
Capture images
with this checklist
in mind. Take notes
K AT H E R I N E L . A L B I A N I M I D D L E S C H O O L • E L K G R OV E , C A

YOU NEVER on camera settings.

Be prepared to

KNOW WHAT explain how and

why you captured

UNEXPECTED each shot.

Colors are vivid.

MOMENT
Subject is clear
YOU MIGHT and sharp. Avoid
unintentionally
CAPTURE. blurred pictures.

Clean and crisp. A

quality photo is not
muddy or grainy
from too much or
10. FRAMING B E WA R E O F
SANDER FINK • REDONDO UNION HIGH SCHOOL • REDONDO BEACH, CA

too little light.

Structures, nature and shadows can
create frames for your subject and MERGERS GET GREAT PICS Shoot every day Center of interest
tell more of the story. Framing can is clear.
Avoid a plant or Whether on assignment
also create the illusion of depth. Essentials Understand or not, enterprising is
pole that appears how to get the best photo. a great skill-builder. Action or reaction
Ex. The small opening in the plastic is captured. This is
Become familiar with
orb creates a nice frame around the to grow from a a storytelling photo.
Pick a good subject your equipment. You
student’s face.
subject’s head. Look for interesting or never know what
expressive people. unexpected moment you No mergers —
Ex. Using the batter and umpire, this This flaw, objects do not
might capture.
photographer framed the pitcher appear to grow
Move in close
perfectly. This sets the scene while when two or from the subject.
Beginners tend to shoot Wait
focusing on a clear subject.
more elements from too far away. Zero Be patient. Shoot
in. Get up. Move around. reaction. Stay after Tones range from
come together, Move closer. Fill the the game or event. blacks to midtones
frame. Never just take Wait for the coach’s to whites.
can produce a
photos from the stands. reaction to a big play, or
confusing effect. When in doubt, get closer announcement of first
to the subject. place. Capture emotion.

C A M E R A S A N D P H O T O S 14
COMPOSITION 15
 B L A K E M O R R I S • A LTAV I S TA C O M B I N E D S C H O O L • A LTAV I S TA , VA

PRACTICE MAKES
PERFECT
On your own, get out and
shoot a variety of subjects.

Simplicity
Shoot a single subject. Use a
different angle for each frame.
Shoot up close, overhead, lying
down, horizontal, vertical, zoom
in and zoom out.

Depth of field
Use different aperture settings
on several subjects. Experiment
with distance from the subject,
note influences on depth of field.
Lens choice affects depth of
A P P LY I N G Candids class
Take two weeks to shoot at least one
field as much as f-stop and focal
distance. The longer the lens,

COMPOSITION
photo for each assignment listed
the shorter the depth of field.
below, focus on angle and composition.
FURTHER The shorter the lens, the deeper
the depth of field.
Center of interest ENRICHMENT
Individual engaged in learning activity
Follow focus
Teacher and student engaged in Choose the best Shoot from the stands during a
learning activity
practice. Choose one player to
Framed head shot of individual photos from
follow. Shoot variety: The player
KEEP At least a four-person group shot
each exercise. alone, with a teammate, with a
Candid in classroom setting
COMPILE COMPOSITION IN MIND School spirit shot: Rally, assembly, Look at photos in
group of players.
game, etc.
Recognize composition principles There are no Human interest
Sports action shot: Athlete and ball magazines and
in yearbook photos. Look for interaction between
fixed rules in clearly in the frame
other yearbooks. people and capture the
Athlete engaged in competition
Find three principles of photo photography, moment.
Athlete on sideline with a
composition from p. 8–16 and explain coach or teammate
how each principle applies to the but there are How can you
Walk-around angle
At least two organization members
photo. Walk 360-degrees around
guidelines to engaged in activity
reshoot your your subject and shoot six to
Public place, other than school
enhance the eight images. Find the best
photos to look background. Some will be
Technique
CANDIDS CLASS impact of
Use framing more like
distracting, but changing your
angle will unveil the best option.
Practice taking a variety of your photos. Use an interesting angle
the pros?
candid photos. Find leading lines
Use the rule of thirds
Capture emotion D I A N A K U T S E N KO • H E R I TA G E H I G H S C H O O L • VA N C O U V E R , WA

C A M E R A S A N D P H O T O S 16
APPLYING COMPOSITION 17
 FILL THE
M AT T H E W YO N E M U R A • R E D O N D O U N I O N H I G H S C H O O L • R E D O N D O B E A C H , C A

FRAME SCAVENGER HUNT

Avoid empty Practice with a list.
Working in small groups, staffers
spaces in snap pictures of group members
completing the following tasks:
between people

and make sure School landmark

the framing Something well-known, but not

often pictured
doesn’t cut

anyone off. Build a human pyramid

Eating/drinking something available

on campus

Add your own ideas

Use photos to build story ideas. Even

though staffers wouldn’t be included
on spreads, the experience should
generate ideas and help staffs bond. MELISSA K WAN • THE HARKER SCHOOL • SAN JOSE , CA JULIE MANCINI • DUNNELLON HIGH SCHOOL • DUNNELLON, FL

MY SCHOOL
Discuss the photo before taking it.
Working in groups of three or four,
brainstorm four photo possibilities
capturing the essence of ‘my school.’
Discuss what stands out as unique,
what is often said/reported about
your school, what different groups
find important about your school as
well as teachers’, administrators’ and
parents’ perspectives.
Get out. Capture moments.
Download, share and discuss each
photo you took.
CELINE OH • REDONDO UNION HIGH SCHOOL • REDONDO BEACH, CA
PROPER
IN YOUR ELEMENT PORTRAITS SELFIE SQUAD
Practice taking a variety of Selfies can add to your coverage.
Determine the
environmental portraits. Working in groups of three or four,
style, purpose choose and share a recent selfie.
Assign student pairs an environmental
and mood Explain the situation and details of
portrait of their partner.
the picture.
you plan on
Setting and props should tell their
story visually — job, hobbies, conveying. After discussion, staffers should
interests or skills. identify coverage ideas using selfies.
Think ahead. Discuss how to gather selfies from a
Avoid head shots in front of a variety of non-yearbook students to
Do you need an
distracting background or the expand coverage.
same old brick wall. Environmental assistant?
portraits add visual interest, while
Are you shooting
telling a more personal story.
indoors or

Download, discuss techniques.

Repeat. Share both versions outdoors?
and critique.

C A M E R A S A N D P H O T O S 18
APPLYING COMPOSITION 19
 M AT T H E W M A R D E S I C H • R E D O N D O U N I O N H I G H S C H O O L • R E D O N D O B E AC H , CA

Night lights
This photographer used a slow shutter speed
which allowed the lights from passing cars to
create a dramatic background full of leading
lines and repetition. There’s also a nice
informal balance and clear center of interest
in the middle third of the frame.

L IGH T

IS L IF E

F OR Y OUR

P HO T OS .

20
21
 UNDERSTANDING

LIGHT
LIGH T ING R AT IO

S AVA N N A H DAV I S • C O T TA G E G R OV E H I G H S C H O O L • C O T TA G E G R OV E , O R
Lighting ratio compares the
amount of light to shadow.

B L A K E M O R R I S • A LTAV I S TA C O M B I N E D S C H O O L • A LTAV I S TA , VA
Though your eye sees both, a
camera can’t record detail in
direct light and shade at the
Next level Understand same time.
how and when to use
different types of lighting. Low ratio
The subject will have both
light and shadow areas. The
subject and background will
both have detail if there is
about the same amount
of light.

In the sun High ratio

Direct sunlight puts harsh shadows
WHO’S GOT THE TIME The subject will lose detail

M I K AY L A B A I R D • C O T T A G E G R O V E H I G H S C H O O L • C O T T A G E G R O V E , O R
Noon in areas with high lighting.
and highlights on people’s faces and
Light is harshest in midday, because If there is more/less light
makes them squint. Avoid open sun,
the sun is closest to Earth and on the background than on
especially in the middle of the day.
directly above the subject. The high the subject, one will be too
Move people into the shade or use a
angle casts shadows, especially on bright/dark.
fill flash to soften shadows.
faces, and limits shaded areas. Using
a flash or bouncing light into shadows
In the shade
can help. ELECTRONIC LIGHTING
The indirect sunlight found in the
Using a flash provides artificial
shade softens shadows. Look
Morning/afternoon light when there isn’t enough
for shade near the edge of direct
The earlier or later part of the day has
sunlight. Both the subject and naturally. Indoors, it can freeze
a lower angle of light. These times
background should be shaded. Shoot action in a dimly lit space. A
provide the optimal exposure with
several images first to determine if flash also allows faster shutter
warm tones and more shaded areas.
flash is needed. speeds to capture movement.

Overcast is your friend

HERE COMES SUBJECT MOBILITY Again, a flash can fill shadows
THE SUN

A . J . P E C H • H E R I TA G E H I G H S C H O O L • VA N C O U V E R , WA
A hazy or cloudy day will provide To move while also lowering the angle
diffused sunlight, an even distribution Especially for a portrait, move your of light. Fill flash works well in
of light. Sunrise and sunset are ideal. The rule of subject into the shade. Use fill flash filtered shade.
to help brighten any shadows created
thumb is to keep
Backlight it up by dappled shade. Light from a strobe dissipates
Try placing the sun behind the subject, the sun at the rapidly. Usable flash distance
so the subject creates its own shade. Or not to move is 5 to 15 feet for built-in
Backlight is more dramatic and solves photographer’s Unfortunately, you can’t always models. Be sure to let your
the problem of squinting. The contrast control light on an activity held during flash recharge and note the
back. This ensures
is strong and detail in shaded areas lunch. Adjust your angle to create ready light.
can be difficult to hold. Notice the rim your subject’s depth even with harsh sunlight.
of light around the subject —­
a potential silhouette moment. faces will be lit,

but test these

different options.

C A M E R A S A N D P H O T O S 22
LIGHTING 23
 A . J . P E C H • H E R I TA G E H I G H S C H O O L • VA N C O U V E R , WA
C H A N D L E R B A S C U E • C O T TAG E G R OV E H I G H S C H O O L • C O T TAG E G R OV E , O R
ALEX ANDRA KOCH • CAPE FEAR ACADEMY • WILMINGTON, NC

HEIDI ZHANG • THE HARKER SCHOOL • SAN JOSE, CA

UNDERSTANDING EN V IRONMEN TA L Setting
Transport your viewer. Set the scene.
Reaction
Focus on faces. Gestures. Postures.
Details
The complement to a scene-setter,
PORTRAITS

COVERAGE
Make them present. Get close. Again, closer. a detail shot tells the story words

Go for a casual
Your image should describe the Stick around. Continue to tell the ZERO can’t capture. Look for small
overall environment. Shoot from an story after the action. moments — behind the scenes, quiet
portrait taken in a angle most people won’t see — one ZEROS emotion, tight portraits.
only the photographer can access. Action For a third time, get close.
setting to further Capture the event as it happens. Strive to Hold the subject in the frame. Work
Characters It’s about physicality — screaming, have zero with a wide-open aperture to reduce
Essentials Having a variety of tell their story.
Introduce the people who matter to jumping, collisions. depth of field.
photos will help you cover the story Use these for this event or group. Tell a story about Be patient. Be mindful of the climax students
of the year. It’s your job to capture each person. of action — last-second shots or the
profiles and for Get close. No, closer. kiss in the school play. appear zero
the entire visual story.
Give your story a face. It could even Shoot during practice or rehearsals, times in your
talking-head quote
be a crowd shot, but always look for but caption as such.
modules. the standouts. Consider angles and perspectives. yearbook.

C A M E R A S A N D P H O T O S 24
COVERAGE 25
 Write a few sentences Expert
about each. Include Understand how
INSPIRATION the following big an image can be
STATION information: reproduced.
Mine magazines,
IDENTIFYING P AY menus, ads,
Identify all elements.
Explain why it’s a
Ideal resolution for
yearbook images
AT T EN T ION

QUALITY
CHALLENGE ACCEPTED newspapers, websites,
good example of is 300 dpi.
etc., for great the composition
If you make a Brainstorm, plan a variety of photo
composition. technique. dpi (dots per inch)
challenges for the entire staff.
photo larger, The number of
Set a good example Describe what you like dots in a single row
the dots per A challenge a day
Find and analyze at least — “Looks cool” isn’t on output devices
Pick a month. Have staffers count
three examples for each good enough. What like printers. It’s
inch (dpi) or off days until all are assigned.
of the following: caught your eye? the reproduction
Some students may have more
resolution capability.
than one day.
Center of interest Explain how to obtain
PHOTO IDENTIFICATION decreases. Have students pick a photo challenge
Rule of thirds the picture yourself lpi (lines per inch)
for each day.
Angle and where you would This traditional
Identify composition principles in Images on the Encourage different subjects and
Framing place it in the book. printing term refers
newspapers and magazines. situations. Ideas: What you wore
Internet are Leading lines to rows of dots
today, what’s for breakfast, autumn
Peak of emotion in half tones or
Find three pictures featuring the generally 72 dpi, changes, etc.
the frequency of
principles on p. 8–16. Brainstorm, start making a list of
the screen. Most
Cut out, glue down and list principles which is OK on suggestions. No repeats allowed.
newspapers print
used in each image.
display screens, halftones at 85 lpi
Choose the best photos. How do your More of a challenge
while yearbooks use
photos compare to the pros? but won’t work Assign photo techniques too — like
130 lpi or higher. A
How can you shoot to look more like rule of thirds or high angles only —
300 dpi printer uses
their images? for printing. also check out YouTube for tutorials.
a screen of 53 lpi.

ppi (pixels per inch)

This term describes
resolution for digital
display purposes.
Most PC monitors
display 96 ppi, while
Macs use 72 ppi.

LET’S
TALK
ABOUT
RESOLUTION

C A M E R A S A N D P H O T O S 26
IDENTIFYING QUALITY 27
 K A I T LY N B A K E R • W E S T F O R S Y T H H I G H S C H O O L • F O R S Y T H C O U N T Y, G A

D I A N A K U T S E N KO • H E R I TA G E H I G H S C H O O L • VA N C O U V E R , WA

KNOW YOUR

CAMERA
Expert Understand digital
A . J . P E C H • H E R I TA G E H I G H S C H O O L • VA N C O U V E R , WA

camera basics.

How it works
Digital cameras capture images using
light-sensitive computer chips. The
most common is a charge-coupled
device (CCD). When the shutter
opens and light strikes the CCD,
temporary electronic charges to the
CCD are recorded on a memory card.
Digital single lens reflex (DSLR) Compression Memory cards
Pixels and resolution cameras with low megapixel Digital cameras compress image files
FLASH Available in many sizes and styles.
The amount of detail captured is
called resolution. Digital resolution
numbers like 2.0 will vastly out- when saving. By compressing, more BACK Invest in cards for every camera as
perform a 10-megapixel point-and- pictures can be stored, but some well as back ups.
is measured by pixels per inch (ppi). shoot because the DSLR’s CCD is image data or quality is lost. A built-in
The more pixels a camera has, the much larger. Larger CCDs mean Optical vs. digital zoom
more detail it can capture. flash comes
larger pixels. Larger pixels mean Most store images in JPEG (Joint A zoom lens is the best option. When
more data captured. Photographic Experts Group) format, with every zooming, the distance between the
Print resolution is measured by dots
per inch (dpi). Higher dpi means
TRY IT OUT which compresses the image. Higher-
camera, but
lens and the image sensor, or CCD,
Viewfinder vs. LCD end cameras may also support TIFF increases or decreases.
better, sharper photos. Take the same Most professionals prefer the (Tagged Information File Format),
strobes can
viewfinder, but it is up to you. which does not compress. TIFF Pay attention to the minimum
Resolution is to ppi and dpi as length picture using
images require more memory, make a world f-stop of your zoom lens. Anything
is to feet and inches. Taking pictures using the liquid
different file with no data lost. above 2.8 will have issues in low-light.
crystal display (LCD) is a little tricky of difference.
Bigger is better formats — JPEG, and requires steady hands. The LCD If available, shoot in RAW format for Don’t be fooled by the digital zoom.
The CCD is the heart of the camera. Learn
is also difficult to use in bright light the best quality images. All DSLRs It’s the same as cropping a picture
The larger it is physically, the better TIFF and RAW.
and it drains batteries. have the ability to shoot RAW. See more about and then blowing it up. This ‘zoom’
the image quality. CCDs are sized, or
Open with image- owner’s manual for details. may degrade the image. Be sure to
rated, in megapixels. A point-and-shoot camera uses a lighting on purchase a camera with a true optical
editing software portion of its CCD to display real-time zoom lens.
Beware: Cameras with large p. 23.
video images. This cuts the usable
megapixel numbers can be and compare
size of the already small CCD even
misleading. The physical size of the further. Something has to suffer, and
the file sizes and
CCD has as much — if not more — to it’s usually the photo quality.
do with image quality. image quality.

C A M E R A S A N D P H O T O S 28
KNOW YOUR CAMERA 29
 BEYOND
THE BASICS

Expert Move past

YOU ARE auto on your camera’s
mode dial.
THE ARTIST.
NOT THE Getting movement
Take time to
experiment with
CAMERA. modes beyond where
‘running man’ and
‘flower’ pre-program
your shot. The two
most popular DSLRs
— Canon and Nikon —

UNDERSTANDING Shutter speed

Shutter speed is the most intuitive of
Photography requires extensive practice and
experimenting, but taking sharp, well-exposed
are displayed below.

PHOTOGRAPHY
the three elements. Play with the semi-
images is technically simple.
manual settings
When the shutter button is pushed, like shutter- and
the mirror flips up, out of the way. The aperture-priority
shutter opens, allowing light in and before advancing to
exposing the image. Creating an image with To successfully shoot manual. Your images
your personal vision common yearbook can reach full potential
Measured in seconds, slower speeds is a much harder task. situations — stop in manual.
Next level Learn the functions of
the exposure triangle.
DID YOU are used for low-light settings or to There is no shortcut. action, isolated subject,
add movement. Faster speeds are You have to go through low light­— a DSLR, Canon DSLR
KNOW? used to freeze moments, such as the process. single lens reflex Mode dial settings
Exposure sports and brightly lit situations. camera will be best. M: Manual
A wider Your job is to move
There are three elements in the Av: Aperture-priority
away from taking Having the right
exposure triangle. Aperture, shutter ISO Tv: Shutter-priority
aperture, which snapshots and selfies. camera and lens can
speed and ISO. Each of these will help This is the speed of your digital P: Program
Instead, capture make all the difference.
you to achieve better results. lets in more sensor, which controls light character, settings, But be warned, buying
sensitivity and is easy to change. reactions and details to better equipment Nikon DSLR
Aperture light, needs a
tell a complete story. will not automatically Mode dial settings
There is an inverse relationship Low ISO will produce the clearest M: Manual
faster shutter make you a better
between f-stop and the size of images. But you may need to Today, everyone has a
photographer. It just A: Aperture-priority
the lens opening. When the f-stop speed. Naturally, raise ISO in low-light setting like camera — mostly in the
enables you to shoot in S: Shutter-priority
increases, the opening decreases. classrooms and gyms. form of a smartphone
more conditions. P: Program
a smaller one in their pocket. There’s
Aperture impacts the focus area or Watch out when increasing the ISO. no shame in using an You are the artist. Not
requires a
depth of field. The smaller the f-stop, Control the noise. Noise is graininess, iPhone or a point-and- the camera.
the shallower the depth of field, the slower speed. or unwanted texture in the photo. shoot. Sometimes,
smaller the focused area. A narrow these are the right
aperture will have a deep depth of choice for your photo.
field. If shooting a landscape, it will
allow everything to be in focus.

C A M E R A S A N D P H O T O S 30
UNDERSTANDING PHOTOGRAPHY 31
ANALYZING
PRIORITIES
Understand how to
pick the best settings
for your photo.
GET READY EARLY —
Action shots
ANTICIPATE ACTION.
Use shutter-priority
and shoot fast moving
subjects with different
shutter speeds.
Now, use aperture-
priority. Set the lens
wide open (f-2.8 or
lower) and focus on a
foreground subject.
Next, shoot a middle-
ground subject and
background subject.
Do the same with the

HANDLING A
lens set at f-11. Look at
all the photographs to Hold on tight EXTRA
analyze shutter speed Adjust neck strap. SUPPORT

CAMERA
as well as focus.
Stand with knees slightly bent. A tripod is the best way
Stopping action
Put weight on one foot and use to stabilize a camera
requires a fast shutter
speed. In order to let other for balance. Your balance and is essential in
enough light in, a fast foot should be slightly ahead.
shutter speed requires low-light situations.
Essentials Understand how to
a wide-open aperture. Cradle the camera firmly with
your left hand. Focus with the It ensures proper handle a digital SLR camera.
Use shutter-priority
and no slower than left thumb and middle finger, alignment and is a
1/500. freeing the right hand to Generally, photographers with
manipulate the shutter and solid investment. steady hands can capture
Group shots other controls. clear images with the shutter
On the other extreme, speed running as slow as 1/60
when shooting a group Start shooting
of a second. If dialed down any
photo — fast shutter Get ready early — anticipate
action and lock in focus and further, use a tripod or monopod.
speed isn’t important
exposure before it happens. When unavailable, steady the
— the goal is all rows
in focus. In this case, camera — or yourself — on a
use aperture-priority, Gently squeeze the shutter. table, desk or chair.
set the f-stop at f-8 or Do not punch or jab it.
higher. Your shutter
speed will slow to allow Position yourself so the
enough light in. action is moving toward
you so you get faces
Once you master instead of backs.
these two functions,
you can shoot with
confidence.

C A M E R A S A N D P H O T O S 32
HANDLING A CAMERA 33
 M AT T H E W M A R D E S I C H • R E D O N D O U N I O N H I G H S C H O O L • R E D O N D O B E AC H , CA

Frozen in time
This photographer used special lighting to
freeze the water and student at the peak of
action for this environmental portrait. The
image also features informal balance, the rule
of thirds, as well as pattern and repetition.

F REE Z ING A MOMEN T

RE V E A L S HO W RICH

RE A L I T Y T RULY IS .

34
35
 NPPA
CODE OF ETHICS
Visual journalists and
those who manage
visual news should:

Defend the rights

VISUAL of access for all
journalists.

JOURNALISTS Think proactively,

as students of
FOCUS ON psychology and
sociology. Work with
MORE THAN a voracious appetite
for current events and

PHOTOS visual media.

Strive for unrestricted

access to subjects,
Next level The National Press Photographers recommend
alternatives to rushed
Association acknowledges concern for every
opportunities and seek

UNDERSTANDING HANDLE Contouring

For years, photographers dodged
person’s need to be fully informed about public
events and to be recognized as part of the
diversity of viewpoints.
Show unnoticed points

ETHICS
WITH CARE and burned light and dark areas world in which we live. of view.
in prints to bring out details.
Treat all subjects Professionals consider this practice Strive to be unobtrusive
acceptable, assuming it doesn’t
with respect and humble. Respect
alter reality. the integrity of the
Visual journalists
and dignity. moment.
Don’t misrepresent reality operate as trustees of
Give special Adding a missing person into the public. Your primary
Maintain high
Essentials Learn how visual a group photo is unethical. It role is to visually report
journalists are held accountable
consideration
misrepresents reality. significant events and LEARN MORE standards. When
confronted and unsure
varied viewpoints.
to vulnerable Check out about proper action,
With the prevalence of digital photo Morphing or distorting features Your primary goal seek counsel. Visual
subjects and changes people’s identities. This is faithful and nppa.org for more
enhancement comes the question journalists should
could cause hurt feelings and could comprehensive
of photo ethics. Staffs need to know compassion to from the pros. continuously study their
be libelous. depiction of the subject. craft and its ethics.
when and how it’s appropriate to use
victims. Intrude You are responsible for
technology to improve photos and Bottom line documenting society Don’t use any photos
illustrate stories. on private Altering reality — changing the way and preserving its taken by someone else
the camera ‘viewed’ the action — is history through images.
moments of grief without permission.
Don’t alter without clarification perceived as unethical.
Images reveal great Attribution is not
Most professional press associations only when the The NPPA code is
truths, expose wrong permission. Always ask
agree altering reality is unethical intended to promote
and inspire hope while for permission when
unless the photo is used as a photo public has an the highest quality of
connecting people using a social media
illustration — and clearly labeled. visual journalism and
overriding and around the globe photo. See the Intro to
strengthen confidence Journalism section for
through the language of
In addition, captions should explain justifiable need in the profession.
visual understanding. more details.
how the photo was changed. Make
to see. Photographs can also It’s also an educational
clear it’s an illustration, not an actual
cause great harm if they tool for those who
event representation.
are callously intrusive or practice and appreciate
manipulated. photojournalism.

C A M E R A S A N D P H O T O S 36
ETHICS 37
 CROP IT
LIKE IT’S HOT
JENNY OETZELL • REDONDO UNION HIGH SCHOOL • REDONDO BEACH, CA H E R I TA G E H I G H S C H O O L • VA N C O U V E R , WA

Next level
TROUBLESHOOTING Understand how to

BASICS
pick the best part of
your photo.

Cropping correctly
should increase the
photo’s effectiveness.

Essentials Understand frequent Crop for the center

problems with a camera. of interest, facial
expression or action.
Blotchy, jagged images
Try using a lower compression Remember the rule
setting for images that look jagged of thirds. Keep the
or blotchy. Low resolution — or too subject off center
few pixels — can also cause blotchy- and allow space for
looking pictures. movement.

Grainy images Crop your subject by

Grain, digital noise is caused by thirds. Don’t amputate
Blurred action
too high an ISO equivalent. Some MANUAL Try the continuous-capture option —
DON’T hands or feet.
photographers prefer the “grainy MIND also known as burst — available with PHOTO OP GUIDE FORGET In sports action
look,” but yearbook photos should be higher-end cameras. Press and hold
as grain-free as possible. Experiment Use the following checklist to get Remember photos, include critical
the shutter button, and the camera
The ISO is a user-selectable ready for a photo assignment. identifiers, like the ball
with manual records a series of images — when to remove or a runner’s legs to
adjustment on the digital single lens the button is released.
reflex camera. Meet and plan which staffer tell the complete story.
focus and Most DSLRs can shoot at rates from batteries
Use a strobe and lower the ISO is shooting what. Think about how
3.5-8.5 frames per second (FPS). For talking heads,
to avoid digital noise — or grain. turn off you will use the photos. when storing a
Get ready early — anticipate action shoot them from the
Experimenting with the f-stop and
shutter speed will also help. auto focus. and lock in focus and exposure
Plan photos, angles, techniques. camera for an belt up. This gives
before it happens. Aim at a subject flexibility to crop faces.
When shooting without a strobe, Full control extended period
the same distance away and press Operate as a team.
reducing the ISO equivalent means
the shutter button halfway. Don’t crop small areas
the photographer must increase the comes like school
Use fill flash to activate a faster Prepare the cameras. and blow them up to
size of the aperture opening (f-stop)
and adjust the shutter speed to stop when you shutter speed or switch to shutter- breaks. grainy proportions.
the action. priority and select the highest speed. Bring extra batteries.
manually

Yellowish whites
White balancing is automatic on most
cameras, but some offer manual
controls. Experiment to see what
works best in each situation. Shoot
for as close to reality as possible.
manipulate Carry extra batteries Bring extra memory cards.
Camera functions require power.
all settings. Keep several extra sets of batteries
when shooting and make sure to fully
cycle batteries at least once a month
to insure long battery life.

C A M E R A S A N D P H O T O S 38
TROUBLESHOOTING 39
 Checklist
SELECTION
GUIDE
Collect and
choose photos.
When finished,
share with a
classmate for

C H A N T I L LY H I G H S C H O O L • C H A N T I L LY, VA
feedback.

Candids only.

WARREN HILL S REGIONAL HIGH SCHOOL • WASHINGTON , NJ

Obvious center
of interest.

Action faces
the gutter.

Dominant photo: The athletes are the clear center of interest for the spread. No faces partially
There’s varied action and composition in every candid photo and this spread cropped out.
obviously covers a variety of games. Watch cropping of
arms and legs.

Dead space is
eliminated
unless vital to
visual impact.

Distractions from
center of interest
are avoided.
SELECTING YOUR PICTURE Trim the fat
When uploading, delete any image
PERFECT Includes variety

LAKE CENTRAL HIGH SCHOOL • SAINT JOHN, IN

PHOTOS
with the following issues:
of subjects
Most readers and activities.
Out of focus
think of a Photos reflect
Too dark or too light diversity in age,
yearbook as a grade level, gender
Technical imperfections and ethnicity.
picture book, so
Essentials Learn how to No story told Ball in the frame
photography is a
choose photos for a spread. when important to
top element. Lacks strong center of interest the action.
Upload and sort images as they are Dominant photo: Interesting body position for a high school wrestling picture.
Every image must Well focused,
taken to simplify the process. Never Find your focus Additional images support the spread without duplicating the dominant photo.
Keep photos with clear center of good contrast and
expect editors to pick spread photos undergo the same Candids are cropped tight — no wasted space. proper levels used.
interest, especially those with an
by themselves. Be selective with
scrutiny as the interesting angle.
which photos make it into the spread
folder. Give designers and editors the copy and graphics.
best of what you have.

C A M E R A S A N D P H O T O S 40
SELECTION PROCESS 41